Fifth Beatle: Stuart Sutcliffe – Gone But Not Forgotten

 

stuart_sutcliffe5_small

Two guys sitting in a bar having a great time and very much intoxicated, they amusingly mimic a girl singing on stage. They are very humored by this form of entertainment while completely suspended from sensibility. Next thing they know one of them is pinned to the ground and gets the beating of his life! His best friend, John Lennon, tries to defend him the best as he could and even gets his wrist broken in the process. Bludgeoned and almost covered in blood, Stuart Sutcliffe gets kicked in the head extremely hard, which many believed is what triggered the brain hemorrhage that lead to his death in 1962. The Beatles will never be the same again.

Born on the 23rd of June, 1940, Stuart Ferguson Victor Sutcliffe was a quiet, good looking, but very shy lad. He had personal charisma and looks comparable to James Dean. He would often reserve away from the female gender, but still would not have any trouble having them as companions. His passion for art was not just a hobby but more of a way of life. Every stroke of paint that he put onto a canvass was an expression of a different aspect of himself. By the age of 19, he was already considered as one of the most promising and talented students at the Liverpool College of Arts. While Sutcliffe was a gifted artist, he also had an interest with music; this was mainly influenced by his friendship with John Lennon. Stu would hang around with John’s group during gigs and rehearsals while doing his work. This almost brought a concern to his fellow artists that he might abandon his first love, painting. But nevertheless, he was still just as interested in art as he always had been.

As Stu and John’s college years progressed, they developed a remarkable friendship that would be envied almost by everyone around at that time (who wouldn’t!) they would rely on each other for anything anytime. Stu would influence John to express his creative side while John on the other hand, would tell Stu to relax a bit more and teach him how to connect with others. Both of them cherished this and became the best of friends. As Stuart further expounded his skills for art he decided to enter some of his paintings for the John Moore exhibition which was regarded as one of the best around for its type. John(Lennon) was so excited for Stu that he even brought his Aunt Mimi to the exhibit to flaunt his best friend’s work. This also caught the attention of the host (John Moore) and even bought one of Stu’s paintings for an unheard sum of 65 pounds! Having received this large sum of money, Stu didn’t exactly knew what to do with it. Sure he had a few debts here and there or maybe he should buy more painting materials to further support his craft, but instead John convinced him to buy a bass guitar (Hofner President) and join his group, Johnny & the Moondogs. Although Stu didn’t really know how to play and had to turn down John a couple of times, he finally decided to give it a go and this would turn out to be one of the most important decisions that he would make in his life. Never mind that he couldn’t play he would eventually pick it up by self-teaching and “with a little help from his friends.”

Years later George (Harrison) would recall in one interview: “Stu had no idea how to play, we all showed him what we could but he really picked it up by coming around with us and playing onstage.” Although it became clear to everyone including John, that Stuart would never be as excellent a musician as he was a brilliant artist. The group would turn his amp off whenever he couldn’t follow a song or was having a difficult time finishing it. Stu on the other hand, would rather turn his back to the crowd during live gigs for them not to notice his flaw.

However because of this, he was able to embody that distinctive sense of style and mystery to the band’s appearance. Shortly after a few gigs in their local area, the boys got an invitation to play in a club somewhere in Hamburg. But before flying-off, they had to undergo a series of modifications of their band’s name; from Johnny & the Moondogs, to the Silver Beetles, until finally Stu came up with just “The Beetles.” Stuart was thinking of a name that would resemble Buddy Holly & the Cricketts since John and Paul (McCartney) were into them at that time.

Later the second “e” was dropped and instead was replaced by an “a” since John had specified that “we’re a beat group.”

Meanwhile back in Hamburg, a couple were having a lover’s quarrel when the guy, Klaus Voorman (who later went on to design the cover of Revolver) decided to walk out and just wander the streets of Hamburg for some fresh air until he found himself walking into a club and heard a performance by a group of musicians from Liverpool. He was also so enthralled by this and ran back to his (then) lover, Astrid Kircherr, to tell her about them. They began to talk to these boys after the performance and right away there was an immediate connection between Stuart and Astrid. Even though there was a huge communication gap, the two fell in love instantly with each other.

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OFFF Cincinnati 2013:OFFF’s founder, Hector Ayuso – curating the interactive exhibition

English: Offf Logos Deutsch: Offf Logos

English: Offf Logos Deutsch: Offf Logos (Photo credit: Wikipedia)

 

tickets

OFFF Cincinnati is an event for the entire creative community, bringing artists and designers from around the world to share their work and inspiration with you! What differentiates OFFF from other conferences is the passion and diversity of techniques that the presenters share, from analog and handcraft to cutting edge digital processes. Because of last year’s sold-out success, we’ve moved the conference to a bigger venue–theAronoff Center.

Once again, OFFF Cincinnati features some of the world’s biggest names and brightest minds exploring design and technology today, including coders, illustrators, motion graphic designers and more.

Presenters:
Sara Blake (New York)
Jon Burgerman (New York)
Brendan Dawes (Manchester)
Ramon Escolá (Barcelona)
Multitouch Barcelona (Barcelona)
James Paterson (Montreal)
Onur Senturk (Los Angeles)
James Victore (New York)
*Joshua Davis (New York) FRIDAY NIGHT PRESENTATION
*PARTY:  Friday, March 8
OFFF’s founder, Hector Ayuso, is curating the interactive exhibition, ON! Handcrafted Digital Playgrounds, to coincide with the conference. The OFFF Cincinnati celebration continues with the exhibition’s opening eventson Friday, March 8 at the CAC, where you can party with the presenters. The evening starts with a special presentation by OFFF super-star (and ON! exhibition artist) Joshua Davis, followed by a huge night of entertainment with Brooklyn-based DJ /rupture and cool participatory projects by Joshua Davis and Multitouch BarcelonaNOT to be missed.

OFFF1

OFFF Cincinnati 2013 partners: Sterling Brands, AIGA Cincinnati, Deskey Branding, Interbrand, Landor Associates, LPK, P&G Design, Seemless Printing and ArtsWave Coporate Partner: GE Aviation.

 : $50 ($30 students) bit.ly/OFFFCincyTIX

When March 6th, 2013 9:00 AM   through   6:00 PM

 

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Corinne PONDELL Holt – Muhammad Ali Art Show

FRAZIER_II_34_x49__Pastel

COOPMAN_44_x34__Pastel

MUHAMMAD ALI IN ACTION SERIES
“Float like a butterfly sting like a bee” eyes of an eagle, stomach of steel.  His humanitarianism, his dedication to Allah, his charisma, his confidence, his beauty, his will to win (even when being booed), and of course, his hometown, are all reason’s I have chosen Muhammad Ali as my subject for a series of drawings.

I became interested in boxing after watching an HBO special profiling the lives of two boxers about ready to fight each other.  There is an extreme passion, dedication, and discipline to prepare the body for the best physical condition it can be in, so as to beat and not be beaten.  The possible physical damage a boxer puts his body through is extreme.  As a figurative artist I find it absolutely amazing what these bodies endure and how they recover to preform again and again.

One thing that struck me as I watched the boxers fight in slow motion was how graceful the bodies looked as they danced together.  Dancing to find the right opportunity to make a swing most effective.  It is a perfect combination of violence and beauty, coming together to see who is stronger, who is faster, and who will ultimately win the match.  Finding a series of Ali’s fights on DVD, gave me a chance to watch him in action, frame by frame.  I selected the images I found most compelling and captured the power of his and his opponent’s bodies in water-soluble crayon, pen, charcoal, and soft pastels.  I’ve been involved with this project for more than a year and continue to be inspired by Ali as a subject.

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http://www.pondellfineart.com

Snow Tiger by YUSEF KOMUNYAKAABY

th - Copy - Copy

Ghost sun half
hidden, where did you go?
There’s always a mother
of some other creature
born to fight for her young.
But crawl out of your hide,
walk upright like a man,
& you may ask if hunger is the only passion
as you again lose yourself
in a white field’s point of view.
In this glacial quiet
nothing moves except—
then a flash of eyes & nerves.
If cornered in your head by cries from a cave
in another season, you can’t forget
in this landscape a pretty horse
translates into a man holding a gun.

Source: Poetry (April 2012).


BIOGRAPHY

In his poetry, Yusef Komunyakaa weaves together the elements of his own life in short lines of vernacular to create complex images of life in his native Louisiana and the jungles of Vietnam. From his humble beginnings as the son of a carpenter, Komunyakaa has traveled far to become a scholar, professor, and prize-winning poet. In 1994, he claimed the Pulitzer Prize and the $50,000 Kingsley Tufts Poetry Award for his Neon . . .

“Painting Abstraction: new elements in abstract painting” by Bob Nickas.

Oregon College of Art and Craft Library:

 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

 Featured Artist: Michelle Ross

She is well known for her contemporary abstract paintings, which “[traverse] the history of abstraction, design, decoration and the love of language” (here). Her work has been likened to Mondrian, Hans Hoffman, Giorgio Morandi, Agnes Martin, Mary Heilman, and Robert Mangold. Ryan Pierce has stated that “Ross’ paintings are firmly grounded in the tropes and traditions of modernism,” they are “refreshingly free of the gimmicks that crowd a lot of abstraction these days,” and they “link the classical and the modern with grace and reverence, leaving plenty of open space for whatever happens next” (from a 2007 review on PORT).

More images of her recent work can be seen on the Elizabeth Leach Gallery website.

2011-12-05-michelleross

 “Painting Abstraction: new elements in abstract painting” by Bob Nickas.

For this week’s library pick, we have selected a title that showcases many of Michelle Ross’ contemporaries and other artists pushing the limits of abstract painting. The book is Painting Abstraction: new elements in abstract painting by Bob Nickas.

After a prefatory essay on the “persistence of abstraction,” the book is broken up into six parts: “hybrid pictures,” “Rhythm and Opticality,” “Color and Structure,” “Found/Eccentric Abstraction,” “Form, Space, and Scale,” and “the Act of Painting.” About a dozen or more artists have been selected for each section and a short text describes how each particularly addresses some issue related to that section’s theme.

For example, Nickas asks “Is the hand of an artist more visible to us when drawing and line are central to her paintings?” (139). He then demonstrates how this question can be answered in the “affirmative” by a close investigation on the work of Allison Miller. Several large, full-color reproductions of her work follow in order to illustrate his point.

Painting Abstraction is an authoritative compilation that addresses the key issues in the field of abstract painting from the last five years and profiles 80 different contemporary abstract artists including Mark Grotjahn and Amy Sillman. Bob Nickas work is an excellent balance of research, critical analysis, and, what all great art books so often have: art, art, and more art.

2011-12-05-paintingabstraction

British pre-Raphaelite barn owl painting discovery

British pre-Raphaelite barn owl painting discovered
William James Webbe (fl.1853-1878), The White Owl, 'Alone and warming his five wits, The white owl in the belfry sits,' signed with monogram and dated '1856' (lower left), oil on board, 17¾ x 10 3/8 in. (45 x 26.3 cm.) © Christie’s Images Limited 2012

From the Huffington Post:

Attic Owl Painting Sells For Nearly $1 Million At Christie’s Victorian Art Sale (PHOTO)

Posted: 12/17/2012 12:31 pm EST  |  Updated: 12/17/2012 12:31 pm EST

Everyone dreams of finding that one priceless item hiding in the corners of a dust-ridden attic. One UK teacher recently experienced the joy of rescuing such a forgotten antique, all thanks to an old owl painting that turned out to be worth nearly a million dollars.

Jane Cordery, an art teacher in Hampshire, discovered the detailed bird portrait in her attic after attempting to clean the space for a plumber. She’d never seen the ornate owl, but the painting’s intricate brushwork caught her eye and she decided to e-mail a photograph of the find to Christie’s auction house. According to the Daily Mail, One look at the owl and art expert Brandon Lindberg knew that that the work was worth much more than anyone suspected.

The auction house determined that the painting, titled “The White Owl,” was created by pre-Raphaelite artist William James Webbe, and experts valued the work at £70,000 ($113,449). Beyond the British masterpiece’s hefty price tag, it was also revealed that the UK’s Royal Society had exhibited the owl in the mid 19th century, exposing the piece to leading art critic, John Ruskin, who described it as “a careful study” with excellent brown wings.

The attic artwork hit Christie’s auction block last week, far outselling its estimated price — the winning bid was £589,250 ($951,050). Cordery maintains that she had never even seen the painting before her impromptu winter cleaning, while her partner, James Ravenscroft, remembers receiving the work as a present from his mother. “It’s a complete shock,” Cordery told the Daily Pioneer after the sale. “We were not imagining that in our wildest dreams.”

The owl depicted in the painting is a barn owl.

The motto of the painting is inspired by this poem by Alfred Lord Tennyson.

Related articles

Re-posted from (dearkitty1.wordpress.com) who nominated this blog for 2012 Best Blog!

Thank You. I am honored by this wonderful blogger! Of course I don't have all six stars, but as you can see by the re-post above why am so appreciative.

Thank You. I am honored by this wonderful blogger! Of course I don’t have all six stars, but as you can see by the re-post above why am so appreciative.

Denise Burge: Original Dirt (May 14 – September 4, 2011)

Denise Burge: Original Dirt (May 14 – September 4, 2011)

Denise Burge, Louise's Tree's, 1999

Denise Burge, Louise’s Tree‘s, 1999

Cincinnati based artist Denise Burge, approaching quilting from a painting background, views the creation of her work as its subject as well as its medium. Using the storytelling tradition learned in her community while growing up in the foothills of the Smokey Mountains, Burge uses her works as a commentary on everything from her family to the natural environment.
The Appalachian region has a history of folk artists concentrating on storytelling featuring aspects of religion, poverty, and the natural resources of the land. By using the quilt as her medium, Burge interprets what, to her, is a nostalgic and functional form of expression. Exploiting patchwork and sewing techniques as a vehicle for ecstatic pattern, Burge seeks to suggest her compositions as and analog to natural patterns of existence. Her work is constructed with a variety of materials and methods, both recycled and new, suggesting aspects of physical growth and renewal through the process. Shredding, slicing, layering, and turning forms and patterns inside-out, the artists sees her creations as a way to reenact and connect with the transformations that the earth constantly undergoes. Her nostalgia leads her to a romanticized conversation about attachment to our landscape. In the Appalachian landscape, people often see the brutality that can be exerted upon the earth, but also become viscerally connected to land and place as a natural resource and source of vitality. Burge uses her work to contemplate this contradiction and question the complexities of our relationship to our natural world.

Elmhurst Art Museum
150 Cottage Hill Ave.
Elmhurst, Illinois 60126
630.834.0202

Object Imprint artist, Denise Burge

Object Imprint artist, Denise Burge (Photo credit: a stitch in the ditch)

Pocahontas (1595?- 1617) –


Pocahontas

English: Pocahontas

English: Pocahontas (Photo credit: Wikipedia)

Pocahontas (1595?- 1617) –

The daughter of a powerful “Tribal chiefIndian Chief in Virginia, she was born in the Tidewater region of Virginia around 1595 and was called Matoaka. However, at an early age she took on the nickname of Pocahontas, meaning “Little-wanton,” for her playful and frolicsome nature, and was considered an “Indian Princess” in pop culture.

Pocahontas probably saw white men for the first time in May, 1607 when the Englishmen landed at Jamestown. One of the first she was to meet was Captain John Smith, who was the leader of the Virginia Colony at Jamestown. Later that year, in December, Smith was leading an exploration along the rivers of Virginia and the Chesapeake Bay when the Powhatan Indians took him captive. Smith would live to tell the romanticized story, which would become legendary. The tale would also come under scrutiny many years later by historians, who question its authenticity. But, as Smith tells it, a few days after his capture, he was taken to the official residence of the Powhatan at Werowocomoco, which was 12 miles from Jamestown. There, the great chief, Wahunsunacawh, welcomed him and offered him a feast. However, afterwards, several warriors grabbed him, forced him to stretch out on two large, flat stones and stood over him with clubs, as though ready to beat him to death if ordered. Suddenly, in rushed the chief’s daughter, little Pocahontas, and took Smith’s head in her arms to save him from death. Pocahontas then pulled him to his feet and the chief declared that they were now friends. He then adopted Smith as his son, or a subordinate chief. Actually, this mock “execution and salvation” ceremony was traditional with the Indians, and if Smith’s story is true, Pocahontas’ actions were probably one part of a ritual. Relations with the Indians continued to be generally friendly for the next year, and Pocahontas was a frequent visitor to Jamestown. She delivered messages from her father, accompanied other tribe members food and furs to trade, and spent time visiting with John Smith on her visits. Unfortunately, relations with the Powhatan and the Jamestown settlers deteriorated. Though necessary trading continued, hostilities became more open. Pocahontas’ visits to the fort became much less frequent. In October 1609, a gunpowder explosion badly injured John Smith, forcing him to return to England. When Pocahontas next came to visit the fort, she was told that her friend Smith was dead. In 1610 Pocahontas living with the Patowameke Indians and was either engaged or briefly married to an Indian named Kocoum and lived in Potomac country. But, her relationship with the Englishmen was not over. When a resourceful member of the Jamestown settlement, Captain Samuel Argall, learned where she was, he devised a plan to kidnap her and hold her for ransom. With the help of Japazaws, a lesser chief of the Patowomeck Indians, Argall lured Pocahontas onto his ship. When told she would not be allowed to leave, she “began to be exceeding pensive and discontented,” but, she eventually became calmer and even accustomed to her captivity. Argall sent word to Powhatan that he would return his beloved daughter only in exchange for the English prisoners Powhatan held, some arms and tolls that the Indians had stolen, and some corn. After a while, Powhatan sent part of the ransom and asked that they treat his daughter well. Argall returned to Jamestown in April, 1613 with Pocahontas. Pocahontas was eventually moved to a new settlement, Henrico, which was under the leadership of Sir Thomas Dale. Here, she began her education in the Christian faith and met a successful tobacco planter named John Rolfe in July, 1613. Pocahontas was allowed relative freedom within the settlement, and she began to enjoy her role in the relations between the colony and her people. After almost a year of captivity, Dale brought 150 armed men and Pocahontas into Powhatan’s territory to obtain her entire ransom. Attacked by the Indians, the Englishmen burned many houses, destroyed villages, and killed several Indian men. They finally sent Pocahontas ashore, where she reunited with two of her brothers, whom she told that she was treated well and that she was in love with and wanted to marry the Englishman John Rolfe. The Powhatan Chief gave his consent to this, and the Englishmen departed, delighted at the prospect of the “peace-making” marriage, although they didn’t receive the full ransom. John Rolfe was a very religious man who agonized for many weeks over the decision to marry an Indian, but, finally made the decision once she had been fully converted to Christianity. Pocahontas was baptized, christened by the name Rebecca, and later married Rolfe on April 5, 1614. A general peace and a spirit of goodwill between the English and the Indians resulted from the marriage. Sir Thomas Dale made an important voyage back to London in the Spring of 1616. His purpose was to seek further financial support for the Virginia Company. To ensure spectacular publicity, he brought with him about a dozen Algonquian Indians, including Pocahontas, her husband and their young son, Thomas. Pocahontas probably saw white men for the first time in May, 1607 when the Englishmen landed at Jamestown. One of the first she was to meet was Captain John Smith, who was the leader of the Virginia Colony at Jamestown. Later that year, in December, Smith was leading an exploration along the rivers of Virginia and the Chesapeake Bay when the Powhatan Indians took him captive. Smith would live to tell the romanticized story, which would become legendary. The tale would also come under scrutiny many years later by historians, who question its authenticity. But, as Smith tells it, a few days after his capture, he was taken to the official residence of the Powhatan at Werowocomoco, which was 12 miles from Jamestown. There, the great chief, Wahunsunacawh, welcomed him and offered him a feast. However, afterwards, several warriors grabbed him, forced him to stretch out on two large, flat stones and stood over him with clubs, as though ready to beat him to death if ordered. Suddenly, in rushed the chief’s daughter, little Pocahontas, and took Smith’s head in her arms to save him from death. Pocahontas then pulled him to his feet and the chief declared that they were now friends. He then adopted Smith as his son, or a subordinate chief. Actually, this mock “execution and salvation” ceremony was traditional with the Indians, and if Smith’s story is true, Pocahontas’ actions were probably one part of a ritual. Relations with the Indians continued to be generally friendly for the next year, and Pocahontas was a frequent visitor to Jamestown. She delivered messages from her father, accompanied other tribe members food and furs to trade, and spent time visiting with John Smith on her visits. Unfortunately, relations with the Powhatan and the Jamestown settlers deteriorated. Though necessary trading continued, hostilities became more open. Pocahontas’ visits to the fort became much less frequent. In October 1609, a gunpowder explosion badly injured John Smith, forcing him to return to England. When Pocahontas next came to visit the fort, she was told that her friend Smith was dead. In 1610 Pocahontas living with the Patowameke Indians and was either engaged or briefly married to an Indian named Kocoum and lived in Potomac country. But, her relationship with the Englishmen was not over. When a resourceful member of the Jamestown settlement, Captain Samuel Argall, learned where she was, he devised a plan to kidnap her and hold her for ransom. With the help of Japazaws, a lesser chief of the Patowomeck Indians, Argall lured Pocahontas onto his ship. When told she would not be allowed to leave, she “began to be exceeding pensive and discontented,” but, she eventually became calmer and even accustomed to her captivity. Argall sent word to Powhatan that he would return his beloved daughter only in exchange for the English prisoners Powhatan held, some arms and tolls that the Indians had stolen, and some corn. After a while, Powhatan sent part of the ransom and asked that they treat his daughter well. Argall returned to Jamestown in April, 1613 with Pocahontas. Pocahontas was eventually moved to a new settlement, Henrico, which was under the leadership of Sir Thomas Dale. Here, she began her education in the Christian faith and met a successful tobacco planter named John Rolfe in July, 1613. Pocahontas was allowed relative freedom within the settlement, and she began to enjoy her role in the relations between the colony and her people. After almost a year of captivity, Dale brought 150 armed men and Pocahontas into Powhatan’s territory to obtain her entire ransom. Attacked by the Indians, the Englishmen burned many houses, destroyed villages, and killed several Indian men. They finally sent Pocahontas ashore, where she reunited with two of her brothers, whom she told that she was treated well and that she was in love with and wanted to marry the Englishman John Rolfe. The Powhatan Chief gave his consent to this, and the Englishmen departed, delighted at the prospect of the “peace-making” marriage, although they didn’t receive the full ransom. John Rolfe was a very religious man who agonized for many weeks over the decision to marry an Indian, but, finally made the decision once she had been fully converted to Christianity. Pocahontas was baptized, christened by the name Rebecca, and later married Rolfe on April 5, 1614. A general peace and a spirit of goodwill between the English and the Indians resulted from the marriage. Sir Thomas Dale made an important voyage back to London in the Spring of 1616. His purpose was to seek further financial support for the Virginia Company. To ensure spectacular publicity, he brought with him about a dozen Algonquian Indians, including Pocahontas, her husband and their young son, Thomas.

English: Portrait of Pocahontas, wearing a tal...

English: Portrait of Pocahontas, wearing a tall hat, and seen at half-length. Around the oval lettering reads: “”MATOAKA ALS REBECCA FILIA POTENTISS: PRINC: POWHATANI IMP: VIRGINIÆ”. Below oval “Ætatis suæ 21. Ao / 1616.” Engraving by the Dutch and British printmaker and sculptor Simon van de Passe. 170 mm x 117 mm. Courtesy of the British Museum, London. (Photo credit: Wikipedia)

Pocahontas_by_Simon_van_de_Passe_1616

The arrival of Pocahontas in London was well publicized. She was presented to King James I, the royal family, and the rest of the best of London society. Also in London at the time was Captain John Smith, the old friend she had not seen for eight years and whom she believed was dead. Smith relates that at their meeting, she was at first too overcome with emotion to speak. After composing herself, Pocahontas talked of old time After seven months, Rolfe decided to return his family to Virginia. In March, 1617 they set sail. It was soon apparent, however, that Pocahontas would not survive the voyage home. She was deathly ill from pneumonia or tuberculosis. She was taken ashore, and, as she lay dying, she comforted her husband, saying, “all must die. ‘Tis enough that the child liveth.” She died on March 21, 1617 and was buried in a churchyard in Gravesend, England at the age of 22. Pocahontas played a significant role in American history. As a compassionate little girl, she saw to it that the colonists received food from the Indians, so that Jamestown would not become another “Lost Colony.” She is said to have intervened to save the lives of individual colonists. In 1616 John Smith wrote that Pocahontas was “the instrument to preserve this colony from death, famine, and utter confusion.” Pocahontas not only served as a representative of the Virginia Indians, but also as a vital link between the Native Americans and the Englishmen.

***The Pictures inserted were chosen by HWG—the different contrast in images is an additional history, one that is still unwittingly propagates disingenuous history.

English: Artist depiction of Pocahontas saving...

English: Artist depiction of Pocahontas saving the life of Capt. John Smith. MEDIUM: 1 print : chromolithograph, color. B size. (Photo credit: Wikipedia)

(Photo credit: Wikipedia)http://yanative.wordpress.com/2012/11/03/pocahontas/ (re-Blogged) http://www.legendsofamerica.com/ Related articles:

Tyger! Tyger! burning bright: Poem By William Blake

The artist and poet William Blake, who lived i...

The artist and poet William Blake, who lived in Hercules Road — a portrait by Thomas Phillips (1807). (Photo credit: Wikipedia)

June 28, 2012

Tyger! Tyger! burning bright

The Tyger

By William Blake

Tyger! Tyger! burning bright

The Tyger

In the forests of the night,

What immortal hand or eye

Could frame thy fearful symmetry?

In what distant deeps or skies

Burnt the fire of thine eyes?

On what wings dare he aspire?

What the hand dare seize the fire?

And what shoulder, and what art,

Could twist the sinews of thy heart?

And when thy heart began to beat,

What dread hand? and what dread feet?

What the hammer? what the chain?

In what furnace was thy brain?

What the anvil? what dread grasp

Dare its deadly terrors clasp?

When the stars threw down their spears,

And watered heaven with their tears,

Did he smile his work to see?

Did he who made the Lamb make thee?

Tyger! Tyger! burning bright

In the forests of the night,

What immortal hand or eye,

Dare frame thy fearful symmetry?

For more go to:

http://awildernesswithin.wordpress.com/2012/06/28/tyger-tyger-burning-bright/